Abstract
On these pages I have dealt with the novel Die Fassade/Fasáda/The Facade of Libuše Moníková. I have analysed it from the point of view of the philosophy of being, on the basis of which the Swiss psychologist Ludwig Binswanger built the so called "Daseinsanalysis" or "the existential analysis".
Iconcentrated on the problems of the semantic directions of horizontality and verticality above all. The system of Ludwig Binswanger is based on the binary oppositions, such as the height, the depth, the distance (the spaciousness) or the nearness (closeness).
We all rely on these dimensions, which have almost mystical qualities. In the novel the longing for flying results from the longing for the escape from the situation of the lack of freedom or from the captivity; there is asimilarity to the myth about Daedalus.
If by Moníková the movement to a faraway place corresponds rather to the epic travelling of the protagonists, further to the everyday life, to the work on the frontage in the horizontals and to the far journey of the artists to Asia, then the height corresponds, as it could be observed, to the vertical rise and flight much more.They start to go on with the metamorphosis of the frontage and their art gains not only new features ( for example unusual shapes which remind of the Chinese signs), but also a new meaning. If we sum up the whole text briefly, then we can claim that the artists in the literary work of Moníková start out on a journey which leads from the tightness of the socialist circumstances over the height to the remote places.
The flying can be of course connected with a considerable number of various ideas. In this novel the flight corresponds to the basic motif of freedom , or more precisely to the motif of liberation.
It is similar in the myth about Daedalus. We can see the irrational process in it, in which the artist achieves his fulfilment through his own work of art and the process of creation.